Gatefold double LP version. Analog Africa presents a new compilation of 14 funky tracks by the legendary Orchestre Poly-Rythmo de Cotonou from Benin. Following two previous Poly-Rythmo collections released by the multiple award-winning label, 2008's The Vodoun Effect (AACD 064CD/AALP 064LP) and 2009's Echos Hypnotiques (AACD 066CD/AALP 066LP), this third compilation is another proof that our ears are facing "one of the funkiest bands in the world." Starting in 2005, Samy Ben Redjeb, Analog Africa's founder and compiler, made several trips to Benin, where he dug up most of the orchestra's output recorded between 1969 and 1983: hundreds of vinyl records and a few master tapes, in a total of 500 songs. With all that material in hands and the astonishing richness of the group's material, choosing the songs proved to be a tough task. Therefore, it seems only natural that it has taken a few years for this third volume to come out of Analog Africa's sonic treasure trove. The 14 tracks presented here have never been issued outside of Africa and most of them follow the spirit and sound of the first volume, The Vodoun Effect, which was a selection of songs released by small and obscure labels from this tiny country which was once known as Dahomey. Some of the songs presented here were recorded using a legendary piece of equipment -- a Swiss-made Nagra reel-to-reel recorder and one or two microphones, in private houses or open-air gardens, mostly at night. And still, it would be somewhat difficult for contemporary musicians and engineers to achieve the stunning quality of raw sound and the atmosphere obtained in these recordings, even if they booked the most modern and expensive studios out there today. One thing that immediately catches the attention listening to this compilation is the band's steamroller-like grooves employed by Gustave Bentho, the mythical bass master, and Leopold Yehouessi, the fantastic drummer -- for many, Africa's funkiest rhythm sections. The power of these tunes is phenomenal and shows true craftsmanship on both the composition and the production side. "Houton Kan Do Gome," composed by Bentho, would have made James Brown proud. "Ecoutes ma melodie" is destined to become a classic late-night tune for the many amazing tropical and Afro parties taking place around the globe. "Pourquoi pas?" and "A O O Ida" would be the kind of sound The Meters would have created were they born in Benin. On December 17th, 2012, Melome Clement, the man who formed the all-powerful orchestra, passed away of a heart attack. The "boss," as the other band members would tenderly call him, will be missed, but not forgotten. The soul of the music he created has permanently engraved itself in the soil of Benin.

Analog Africa presents a new compilation of 14 funky tracks by the legendary Orchestre Poly-Rythmo de Cotonou from Benin. Following two previous Poly-Rythmo collections released by the multiple award-winning label, 2008's The Vodoun Effect (AACD 064CD/AALP 064LP) and 2009's Echos Hypnotiques (AACD 066CD/AALP 066LP), this third compilation is another proof that our ears are facing "one of the funkiest bands in the world." Starting in 2005, Samy Ben Redjeb, Analog Africa's founder and compiler, made several trips to Benin, where he dug up most of the orchestra's output recorded between 1969 and 1983: hundreds of vinyl records and a few master tapes, in a total of 500 songs. With all that material in hands and the astonishing richness of the group's material, choosing the songs proved to be a tough task. Therefore, it seems only natural that it has taken a few years for this third volume to come out of Analog Africa's sonic treasure trove. The 14 tracks presented here have never been issued outside of Africa and most of them follow the spirit and sound of the first volume, The Vodoun Effect, which was a selection of songs released by small and obscure labels from this tiny country which was once known as Dahomey. Some of the songs presented here were recorded using a legendary piece of equipment -- a Swiss-made Nagra reel-to-reel recorder and one or two microphones, in private houses or open-air gardens, mostly at night. And still, it would be somewhat difficult for contemporary musicians and engineers to achieve the stunning quality of raw sound and the atmosphere obtained in these recordings, even if they booked the most modern and expensive studios out there today. One thing that immediately catches the attention listening to this compilation is the band's steamroller-like grooves employed by Gustave Bentho, the mythical bass master, and Leopold Yehouessi, the fantastic drummer -- for many, Africa's funkiest rhythm sections. The power of these tunes is phenomenal and shows true craftsmanship on both the composition and the production side. "Houton Kan Do Gome," composed by Bentho, would have made James Brown proud. "Ecoutes ma melodie" is destined to become a classic late-night tune for the many amazing tropical and Afro parties taking place around the globe. "Pourquoi pas?" and "A O O Ida" would be the kind of sound The Meters would have created were they born in Benin. On December 17th, 2012, Melome Clement, the man who formed the all-powerful orchestra, passed away of a heart attack. The "boss," as the other band members would tenderly call him, will be missed, but not forgotten. The soul of the music he created has permanently engraved itself in the soil of Benin. Includes a 44-page booklet.

Nestled in between Nigeria and Ghana, the traditional heavyweights of the golden West African musical axis, Benin, formerly known as Dahomey, has birthed some of the most raw and psychedelic Afro sounds to emerge from a continent blessed with artistic talent. From Lome to Luanda, Africa's coastal cities have constantly served as creative hubs and Benin's economic capital, Cotonou, is no exception. The former French trading post has spawned several bands and performers, the most indefatigable and prolific of which undoubtedly remains Orchestre Poly-Rythmo. Extensively featured on Analog Africa's previous releases, Poly-Rythmo and its legendary members constitute arguably Africa's most innovative band. By building upon and modernizing the traditional rhythms of Vodoun, conforming to the Afrobeat sound of the time, incorporating Western styles and injecting a healthy Latin dose, Orchestre Poly-Rythmo fostered a diverse groove that remained unique to Benin and resonated with the region's urban centers. Despite consisting of 16 members at its peak, the band was originally founded as Orchestre Poly-Disco in 1968 with original members Melome Clement, Bentho Gustave, Amenoudji Vicky Joseph and Bernard "Papillon" Zoundegnon. Seeking to expand and in search of a soul singer, Bentho and Papillon persuasively lured a certain Vincent Ahehehinnou from Daho Jazz, a band with little prospect of major success that often performed in seedy venues. Due to changes in producers and financiers, Orchestre Poly-Disco switched its name to Orchestre El Ritmo before finally establishing themselves as Orchestre Poly-Rythmo de Cotonou after signing with Adissa Seidou, the owner of the Albarika Store label, in 1969. Influenced heavily by Fela Kuti, Vincent, who by this time had transformed himself into an Afrobeat and funk specialist, perhaps Benin's best, soon became a supremely influential member of Poly-Rythmo and was approached by Albarika to record a 7" single. Realizing the band's preeminence on the African music stage, Vincent believed the time was ripe to follow in the footsteps of African music greats and record a full album instead. A deal was subsequently struck with the label for a production fee of 320.000 CFA -- about 500 euros given today's exchange rates. The band took advantage of their producer's cross-border contacts and traveled from Cotonou to Lagos, which possessed better-equipped studio facilities, to record their first LP consisting of four heavy Afrobeat tracks, wholly composed by Vincent Ahehehinnou himself, in 1973. In fact, the four track LP was recorded twice. Albarika rejected the first recording because of far too much background noise -- the possible culprit being an obnoxious organ amplifier -- forcing another recording to be done. The second recorded session met expectations and made it as the official vinyl release. That recording remains not only one of Benin's rarest LPs but one of its best works of music, setting the standard for all future Poly-Rythmo releases and firmly cementing the band and Vincent's reputation. The test-pressing of the rejected first recording was found and Analog Africa founder, Samy Ben Redjeb, chose two tracks from each recording. The two remastered tracks from the rejected recording are now exclusively released for the very first time.

Limited restock; LP version. Nestled in between Nigeria and Ghana, the traditional heavyweights of the golden West African musical axis, Benin, formerly known as Dahomey, has birthed some of the most raw and psychedelic Afro sounds to emerge from a continent blessed with artistic talent. From Lome to Luanda, Africa's coastal cities have constantly served as creative hubs and Benin's economic capital, Cotonou, is no exception. The former French trading post has spawned several bands and performers, the most indefatigable and prolific of which undoubtedly remains Orchestre Poly-Rythmo. Extensively featured on Analog Africa's previous releases, Poly-Rythmo and its legendary members constitute arguably Africa's most innovative band. By building upon and modernizing the traditional rhythms of Vodoun, conforming to the Afrobeat sound of the time, incorporating Western styles and injecting a healthy Latin dose, Orchestre Poly-Rythmo fostered a diverse groove that remained unique to Benin and resonated with the region's urban centers. Despite consisting of 16 members at its peak, the band was originally founded as Orchestre Poly-Disco in 1968 with original members Melome Clement, Bentho Gustave, Amenoudji Vicky Joseph and Bernard "Papillon" Zoundegnon. Seeking to expand and in search of a soul singer, Bentho and Papillon persuasively lured a certain Vincent Ahehehinnou from Daho Jazz, a band with little prospect of major success that often performed in seedy venues. Due to changes in producers and financiers, Orchestre Poly-Disco switched its name to Orchestre El Ritmo before finally establishing themselves as Orchestre Poly-Rythmo de Cotonou after signing with Adissa Seidou, the owner of the Albarika Store label, in 1969. Influenced heavily by Fela Kuti, Vincent, who by this time had transformed himself into an Afrobeat and funk specialist, perhaps Benin's best, soon became a supremely influential member of Poly-Rythmo and was approached by Albarika to record a 7" single. Realizing the band's preeminence on the African music stage, Vincent believed the time was ripe to follow in the footsteps of African music greats and record a full album instead. A deal was subsequently struck with the label for a production fee of 320.000 CFA -- about 500 euros given today's exchange rates. The band took advantage of their producer's cross-border contacts and traveled from Cotonou to Lagos, which possessed better-equipped studio facilities, to record their first LP consisting of four heavy Afrobeat tracks, wholly composed by Vincent Ahehehinnou himself, in 1973. In fact, the four track LP was recorded twice. Albarika rejected the first recording because of far too much background noise -- the possible culprit being an obnoxious organ amplifier -- forcing another recording to be done. The second recorded session met expectations and made it as the official vinyl release. That recording remains not only one of Benin's rarest LPs but one of its best works of music, setting the standard for all future Poly-Rythmo releases and firmly cementing the band and Vincent's reputation. The test-pressing of the rejected first recording was found and Analog Africa founder, Samy Ben Redjeb, chose two tracks from each recording. The two remastered tracks from the rejected recording are now exclusively released for the very first time.

Subtitled: From The Vaults Of Albarika Store 1969-1979. Four years in the making, Analog Africa finally presents the highly-anticipated second volume of music from Africa's funkiest band, the mythical Orchestre Poly-Rythmo de Cotonou. Volume One (The Vodoun Effect: Funk & Sato from Benin's Obscure Labels, 1973-1975), released by Analog Africa at the end of 2008, was a collection of amazing lo-fi recordings produced for various labels around Benin. Volume Two showcases superbly recorded tracks, courtesy of the EMI studios in Lagos, Nigeria, one of the best studios in the region. All tracks here were recorded for the mighty Albarika Store label and its enigmatic producer, Adissa Seidou. The idea for this compilation was born five years ago when Samy Ben Redjeb, Analog Africa's founder and compiler, first heard the addictive funk track "Malin Kpon O" (included here), which was originally released in 1975 on Albarika Store. That discovery triggered the compiler's curiosity and what followed was a long journey through the musical history of Benin and the history of its most important ambassador, Orchestre Poly-Rythmo de Cotonou. The result: approximately 100 pictures, 120 master tapes, 20 hours of interviews and a few hundred Orchestre Poly-Rythmo vinyl records -- 500 songs in total -- some of which previously unreleased. Almost half of those tracks were recorded for Benin's number one label -- Albarika Store. Fourteen out of 200 tracks were carefully selected for this compilation which comes with a massive 44-page booklet filled with amazing pictures of the band, a complete discography and a biography tracing the band from its foundation as Groupe Meloclem in 1964 via Sunny Black's band (1965), Orchestre Poly-Disco (1966), El Ritmo (1967) and finally, Orchestre Poly-Rythmo de Cotonou in 1968. During the period presented here -- 1969 to 1979 -- the mighty Orchestre was without any doubt one of Africa's most innovative groups. Capable of playing any style of music, the band moved from traditional Vodoun rhythms to funk, sato, Latin, sakpata, psychedelia and Afro-Beat seamlessly and quickly became the powerhouse of Benin's music scene. Some of the planet's most exciting rhythms are related to the complex Vodoun religion born in Benin. Those rhythms, supported by chants and dances, have been transmitted from generation to generation and are still being performed to this day, a few hundred years after they were created. The composers and arrangers of Orchestre Poly-Rythmo understood that they were surrounded by a gold mine of inspirational sounds which, if modernized and mixed in with whatever was in fashion at that particular moment, could have a strong impact on the urban population. Those astonishing combinations can be heard here, all mixed into a heavy hypnotic sound -- Les Echos Hypnotiques.

2015 restock. Double vinyl version, in deluxe gatefold sleeve with a poster and printed inner sleeves which replicate all of the liner notes from the CD version booklet. Subtitled: From The Vaults Of Albarika Store 1969-1979. Four years in the making, Analog Africa finally presents the highly-anticipated second volume of music from Africa's funkiest band, the mythical Orchestre Poly-Rythmo de Cotonou. Volume One (The Vodoun Effect: Funk & Sato from Benin's Obscure Labels, 1973-1975), released by Analog Africa at the end of 2008, was a collection of amazing lo-fi recordings produced for various labels around Benin. Volume Two showcases superbly recorded tracks, courtesy of the EMI studios in Lagos, Nigeria, one of the best studios in the region. All tracks here were recorded for the mighty Albarika Store label and its enigmatic producer, Adissa Seidou. The idea for this compilation was born five years ago when Samy Ben Redjeb, Analog Africa's founder and compiler, first heard the addictive funk track "Malin Kpon O" (included here), which was originally released in 1975 on Albarika Store. That discovery triggered the compiler's curiosity and what followed was a long journey through the musical history of Benin and the history of its most important ambassador, Orchestre Poly-Rythmo de Cotonou. The result: approximately 100 pictures, 120 master tapes, 20 hours of interviews and a few hundred Orchestre Poly-Rythmo vinyl records -- 500 songs in total -- some of which previously unreleased. Almost half of those tracks were recorded for Benin's number one label -- Albarika Store. During the period presented here -- 1969 to 1979 -- the mighty Orchestre was without any doubt one of Africa's most innovative groups. Capable of playing any style of music, the band moved from traditional Vodoun rhythms to funk, sato, Latin, sakpata, psychedelia and Afro-Beat seamlessly and quickly became the powerhouse of Benin's music scene. Some of the planet's most exciting rhythms are related to the complex Vodoun religion born in Benin. Those rhythms, supported by chants and dances, have been transmitted from generation to generation and are still being performed to this day, a few hundred years after they were created. The composers and arrangers of Orchestre Poly-Rythmo understood that they were surrounded by a gold mine of inspirational sounds which, if modernized and mixed in with whatever was in fashion at that particular moment, could have a strong impact on the urban population. Those astonishing combinations can be heard here, all mixed into a heavy hypnotic sound -- Les Echos Hypnotiques.

...Funk & Sato From Benin's Obscure Labels 1972-1975. Following the highly-acclaimed African Scream Contest: Raw & Psychedelic Afro Sounds from Benin & Togo '70s -- which featured several tracks by Orchestre Poly-Rythmo de Cotonou, including the ground-breaking "Gbeti Madjro" -- this new Analog Africa collection now focuses entirely on Orchestre Poly-Rythmo. Orchestre Poly-Rythmo de Cotonou is arguably West Africa's best-kept secret. Their output, both in quantity and quality, was astonishing. During several trips to Benin, label-head Samy Ben Redjeb managed to collect roughly 500 songs which Orchestre Poly-Rythmo de Cotonou had recorded between 1970 and 1983. With so much material to choose from, he decided to split it into Volume 1 and 2. While Volume 2 will be material the band recorded under an exclusive contract with the label Albarika Store, the band also "secretly" recorded with an array of smaller labels based around Cotonou, Benin's largest city, and the capital city of Porto Novo. It is those tracks (all officially licensed) that are presented here on Volume One. The producers of those labels were genuine music enthusiasts, some of them ran these labels as a part-time occupation, with very limited budgets. They couldn't afford high-quality recordings -- all they had to work with was a Nagra (a Swiss made reel-to-reel recorder) and a sound engineer -- courtesy of the national radio station. These sessions were recorded in private homes using just one or two microphones. The cultural and spiritual riches of traditional Beninese music had an immense impact on the sound of Benin's modern music. Benin is the birthplace of Vodun (also Vodoun, or, as it is known in the West, Voodoo), a religion which involves the worship of some 250 sacred divinities. The rituals used to pay tributes to those divinities are always backed by music. The majority of the complex poly-rhythms of the Vodun are still more or less secret and difficult to decipher, even for an accomplished musician. Two Vodun rhythms dominate the music of Orchestre Poly-Rythmo: Sato, an amazing, energetic rhythm performed using an immense vertical drum, and Sakpata, a rhythm dedicated to the divinity who protects people from smallpox. Both rhythms are represented here mixed in with funk, soul, crazy organ sounds and psychedelic guitar riffs. In the 44-page booklet, full of rare photographs and record covers, Analog Africa introduces three important producers who were collectively responsible for some of the most amazing music released in Benin: Gratien K. Aissy, of the Echos Sonores du Dahomey label, Bernard Dohounzo, of Disques Tropiques, Lawani Affissoulayi, of Aux Ecoutes, the label behind El Rego & Ses Commandos' fame, as well as an encounter in Niamey with Honliasso Barnabé, Poly-Rythmo's producer in Niger. Samy Ben Redjeb also interviewed Vincent Ahehehinnou, the man responsible for composing some of the funkiest stuff ever to come out of Benin, and Kineffo Michel, the sound engineer of Poly-Rythmo's legendary Nagra "home" recordings. None of these tracks (except one -- track 14) have been distributed outside Benin before. Because of financial considerations, most, if not all, of these recordings had very limited pressings that rarely exceeded 1000 copies total and many labels rarely produced more than 500 copies of any given record. The music on this compilation is not only rare, but illustrates how Orchestre Poly-Rythmo, with the support of a number of local record labels, thrived by mixing the coolest parts of funk, soul, Latin and vodun rhythms into a new sound that not only reflected the musical culture and heritage of Benin, but also transformed it and turned the small country into such an incredible musical melting pot. Packaged in a super deluxe slipcase, with a large 44-page illustrated booklet.

...Funk & Sato From Benin's Obscure Labels 1972-1975. 2013 repress. Double vinyl version, in deluxe gatefold sleeve with printed inner sleeves. Following the highly-acclaimed African Scream Contest: Raw & Psychedelic Afro Sounds from Benin & Togo '70s -- which featured several tracks by Orchestre Poly-Rythmo de Cotonou, including the ground-breaking "Gbeti Madjro" -- this new Analog Africa collection now focuses entirely on Orchestre Poly-Rythmo. Orchestre Poly-Rythmo de Cotonou is arguably West Africa's best-kept secret. Their output, both in quantity and quality, was astonishing. During several trips to Benin, label-head Samy Ben Redjeb managed to collect roughly 500 songs which Orchestre Poly-Rythmo de Cotonou had recorded between 1970 and 1983. With so much material to choose from, he decided to split it into Volume 1 and 2. While Volume 2 will be material the band recorded under an exclusive contract with the label Albarika Store, the band also "secretly" recorded with an array of smaller labels based around Cotonou, Benin's largest city, and the capital city of Porto Novo. It is those tracks (all officially licensed) that are presented here on Volume One. The producers of those labels were genuine music enthusiasts, some of them ran these labels as a part-time occupation, with very limited budgets. They couldn't afford high-quality recordings -- all they had to work with was a Nagra (a Swiss made reel-to-reel recorder) and a sound engineer -- courtesy of the national radio station. These sessions were recorded in private homes using just one or two microphones. The cultural and spiritual riches of traditional Beninese music had an immense impact on the sound of Benin's modern music. Benin is the birthplace of Vodun (also Vodoun, or, as it is known in the West, Voodoo), a religion which involves the worship of some 250 sacred divinities. The rituals used to pay tributes to those divinities are always backed by music. The majority of the complex poly-rhythms of the Vodun are still more or less secret and difficult to decipher, even for an accomplished musician. Two Vodun rhythms dominate the music of Orchestre Poly-Rythmo: Sato, an amazing, energetic rhythm performed using an immense vertical drum, and Sakpata, a rhythm dedicated to the divinity who protects people from smallpox. Both rhythms are represented here mixed in with funk, soul, crazy organ sounds and psychedelic guitar riffs.